Genevieve (Henry Cornelius, 1953) DVDRip VOSE + AE

[bluegardenia]

"The best Ealing comedy that never was."








FICHA TÉCNICA Y ARTÍSTICA

Dirección: Henry Cornelius
Guión: William Rose
Productor: Henry Cornelius
Productor Ejecutivo: Earl St. John
Música Original: Larry Adler
Director Musical: Muir Mathieson
Fotografía: Christopher Challis
Operador Cámara: Ted Moore
Asistente Dirección: John Arnold
Continuidad: Yvonne Axeworthy
Montaje: Clive Donner
Dirección Artística: Michael Stringer
Vestuario: Marjory Cornelius
Peluquería y Maquillaje: Helen Penfold, Paul Rabiger.
Sonido: Gordon K. McCallum.
Título Orignal: Genevieve
Duración: 86 min.
Nacionalidad: Reino Unido
Idioma: Inglés
Formato: 35 mm.
Color: Color - Technicolor
Género: Comedia
Una Producción:Sirius Productions Limited & The Rank Organisation Film Productions Ltd.

REPARTO

Dinah Sheridan .... Wendy McKim
John Gregson .... Alan McKim
Kay Kendall .... Rosalind Peters
Kenneth More .... Ambrose Claverhouse
Geoffrey Keen .... Policía
Reginald Beckwith .... Motorista
Arthur Wontner .... Caballero en la calle.
Joyce Grenfell .... Propietaria Hotel
Leslie Mitchell .... Leslie Mitchell
Michael Balfour .... Trompetista orquesta
Joe E. Carr .... Mecánico
Stanley Escane .... Cameraman
Fred Griffiths .... Vendedor de helados
Charles Lamb .... Publican
Arthur Lovegrove .... Portero Hotel
Edie Martin .... Invitado
Michael Medwin .... Esposo
Harold Siddons .... Policía

DVD

Sobre el dvd: El dvd español editado por Filmax parece ser, en cuanto a imagen, el mismo material utilizado por Carlton en su Edición Especial de la película realizada en 2001. La española tardó cuatro años en llegar como podemos ver y sin el documental que acompañaba a la edición británica. El audio, puntuado no muy bien en dvdreviewer (un 7 sobre 10) es también flojete en el de Filmax, claro. La presentación de Filmax es austera por no decir pobre mientras el aspecto "de venta" de la otra edición parece llevar más intención en ello, no en vano es un icono histórico de su cine y no sin razón (lo cual no es motivo para que acierten siempre, véanse las dos ediciones diferentes de Black Narcissus). El color, delicádisimo asunto en esta película por su peculiaridad (como en otras comedias inglesas de los 40-50), parece estar bien logrado (asunto de Carlton supongo) y ajustado, sin embargo en algunas escenas se nota la falta de bit rate, o eso pienso yo, con alguna pixelización en fondos neutros. También hay algún ligero entrelazado pero no de escándalo. De cualquier modo no hay naufragio y la película por sí sola, una pieza imprescindible de la historia del cine y la comedia, tapa muchos gazapos que puede haber.

Distribuidor: Filmax
Lanzamiento: 28/06/2005
Discos: 1
Región: 2
Video: Pal
Relación de Aspecto: 1'33:1
Capa: DVD5
Anamórifco: No
Audio: DD. English and Spanish
Subtítulos: Español
Otros: Menús Interactivos, Acceso directo a escenas
Bit Rate Medio: 4'88 Mb.



DVDGO | DVD Reviewer

SINOPSIS

Alan McKim, un joven abogado, decide participar en el rally anual de coches antiguos de Londres a Brighton con su Darraq de 1904 (Genoveva). Wendy, su esposa, opina que la carrera es una tontería y un símbolo de inmadurez.
Ambrosse Claverhouse, amigo del joven matrimonio, decide competir con Alan en el Rally: Rosalind Peters, será su acompañante. Una carrera llena de tropiezos y sorpresas está a punto de empezar.


<hr width="50%">

Henry Cornelius,
(1913-1958)

Henry Cornelius was born in Cape Town, into a South African German-Jewish family, on 18 August 1913. While he was still young his family moved back to Berlin, where at the age of 18 he was accepted to study acting and theatrical production with Max Reinhardt. Before he was 20 he was producing plays at Berlin's Schiller Theatre, but he quit Germany with the advent of the Nazis and moved to Paris, where he worked as a journalist and made his entry into the film industry as an assistant editor at the Studios de Montrouge. From there he moved on to London, where René Clair was about to start work on The Ghost Goes West for Alexander Korda. Clair wanted a French-speaking assistant editor, "inexperienced enough to take instead of giving advice"; Cornelius fitted the bill perfectly.
Cornelius remained with Korda for the next four years. He was promoted to editor on Men Are Not Gods (d. Walter Reisch, 1936), and also worked on Forget Me Not (d. Zoltan Korda, 1936), The Drum (d. Zoltan Korda, 1938), The Four Feathers (d. Zoltan Korda, 1939) and The Lion Has Wings (d. Michael Powell/Adrian Brunel/Brian Desmond Hurst, 1939). In 1939 he briefly joined Alberto Cavalcanti at the GPO Film Unit, then went back to his native country to become Deputy Director of the Film Section of the South African government's Propaganda Unit. In this capacity he wrote, produced, directed and edited some fifteen propaganda shorts. He returned to Britain in 1943 and at Cavalcanti's suggestion joined Ealing Studios as an associate producer (producer, in effect, at this studio).
Cornelius's first assignment was the drama-documentary, Painted Boats (1945), directed by Charles Crichton. He went on to produce two key Ealing movies: Hue and Cry (1946), again for Crichton, the first of the true 'Ealing comedies', and Robert Hamer's poetic-realism-influenced East End drama It Always Rains on Sunday (1947). The success of these persuaded Michael Balcon to let Cornelius try his hand at directing a feature. Passport to Pimlico (1949), in which the London district of Pimlico declares independence from Britain and shrugs off post-war controls, has become one of the most fondly-remembered of the Ealing comedies, a classic example of Balcon's "mild revolution". But to Balcon's dismay the shoot went seriously over-schedule and over-budget, not wholly through Cornelius's fault; the action, set during the summer of 1947, one of the driest on record, was shot during the summer of 1948, one of the wettest.

Still, Passport easily recouped its cost, giving Ealing one of its biggest box-office hits. On the strength of it Cornelius demanded a raise, never a wise tactic with the frugal Balcon; he was turned down flat, and promptly quit the studio. Together with another Ealing alumnus, the publicist-turned-producer Monja Danischewsky, he formed a production company, Sirius. Their first production, The Galloping Major (1951), was a sub-Ealing comedy about an ex-Army officer who bands together with friends and neighbours to buy a racehorse. Returns were unimpressive, and Danischewsky quit the company to return to Ealing. Cornelius, thinking to follow his example, offered his next project to Balcon; but the manner of his departure still rankled, and Balcon declined the offer. As a result, 'the most Ealing film not made by Ealing' was produced by the Rank Organisation.
Genevieve (1953), a comedy about two rival males - and their long-suffering females - taking part in the London to Brighton Veteran Cars rally, was scripted by William Rose, an American-born writer with a wry eye for British foibles. He went on to script, inter alia, Alexander Mackendrick's The Maggie (1954) and The Ladykillers (1955), and Basil Dearden's The Smallest Show on Earth (1957). Cornelius conceived Genevieve as a character-centred film, "an English equivalent of [Jacques Becker's] Edouard et Caroline". Initial omens for the film were not promising: it was shot with a disgruntled cast under conditions of some discomfort, and once finished was loathed by John Davis, the autocratic Chief Executive of Rank, who pronounced it too bad to distribute and wanted it shelved. Only Cornelius's persistence rescued it from limbo. When finally released, Genevieve met with overwhelming enthusiasm from critics and public, and went on to become one of the most profitable films in the history of the Rank Organisation. The second leads, Kenneth More and Kay Kendall, stole the picture from its stars, John Gregson and Dinah Sheridan, and Larry Adler's perky harmonica score stole it from all of them.

<p align="justify">On the strength of this triumph, Cornelius seemed poised to become one of the foremost British directors. But ill-health was hampering his career, and he directed only two more films. I Am a Camera (1955) was a double adaptation, taken from the Broadway play by John Van Druten, itself adapted from Christopher Isherwood's Berlin novels, Mr Norris Changes Trains and Goodbye to Berlin. The material - which later provided the basis for Kander and Ebb's smash-hit musical Cabaret - was heavily bowdlerised, and the film showed scant sense of period style. It was further encumbered by Laurence Harvey, disastrously miscast as Herr Issyvoo. Isherwood himself described it as "a truly shocking and disgraceful mess", and the US critic Walter Kerr dismissed it with the immortal crack, "Me no Leica".
Cornelius's last film, which he himself scripted from a short story by Paul Gallico, was Next to No Time (1958), a flaccidly whimsical comedy about a mild-mannered engineer (played by Kenneth More) on a transatlantic liner. Learning that each day on board gains a 'lost hour' to compensate for the change in time zones, he's emboldened to change his life and achieve his ambitions. By the time the film was released Cornelius had succumbed to his illness. He died in London on 2 May 1958.
Bibliography
Barr, Charles, Ealing Studios (London/Newton Abbot: Cameron & Tayleur/David & Charles, 1977)
de la Roche, Catherine, 'The Independent', Films & Filming, Feb. 1955.

Texto copiado de
ScreenonLine.org.

<hr width="50%">

The Making of...
Genevieve

When Henry Cornelius announced his intention of making a film depicting a fictitious Brighton Run, and asked the club to help, it was never imagined that a unique page in the club's history was about to be written, a page that would forever be part of the permanent pattern, and yet one which told a story apart from the rest. It is a story of fun and frolic tempered with caution, of patience and forbearance mixed with trepidation, of laughter, excitement, tumult and hard work.
In the beginning, there were two factions: Mr. Cornelius knew what he wanted: he had his script and his stars; he needed advice and cars. The committee, on the other hand, knew what it did not want: the wrong sort of film showing a mockery of the run. But it had the cars. It had, too, its own ideas of the demands that film directors were inclined to make, while Mr. Cornelius had more than a faint notion of how to get his own way. "Read the script," he said. "We want your help, your cars and your blessing." In the end, he got all three and before very long, goodwill was added for full measure.
The first reading of the script brought cries of alarm: "You can't do that, or that or THAT! and who has ever heard of an ancient Lanchester with a bonnet ?" "That's precisely where you come in," was the patient reply. "Authenticity is what we want, and only you can give it." There was much anxiety on that race back, for was it not the very antithesis of the club's objects? A series of meetings began and gradually these heart-burnings were eliminated. Steadily, too, a mutual trust disposed of the problems and brought about a partnership which worked smoothly and well. On the club side, a great deal of the credit for this belongs to Evelyn Mawer. He became the club's representative, Mr. Cornelius' technical adviser-in-chief and the Secretary's prop and stay, to say nothing of his own and his car's appearances on the set.
In theory, it seemed a simple matter for the club to produce two cars for three months, thirty-five on one day in Hyde Park, ten here, fifteen there and twenty in Brighton. In practice, it assumed the proportions of a military operation. Members had to be invited to take part; they had to know dates, but these depended on the weather; they had to know places, but many of these were uncertain; they had to know duration of shooting, but that was controlled by the sun. Above all, the choice of "Genevieve" herself and her chief rival was the major problem. The shooting of the film was to continue from September to November, so that these two cars would be away from their owners for the vital months of preparation for the Brighton Run. The risk of damage, too, was great; it had been suffered before in film work, and many members, although prepared to drive their cars themselves for shooting, were not willing to hand them over to a doubtful fate.
Henry Cornelius had set his heart on a Lanchester for Claverhouse's car, but all his charm and persuasion were of no avail. The gears of the early Lanchesters are too intricate for inexperienced fingers ; their owners spoke with one voice, and the united answer was "No." Both the club and the Director were keen to feature a British-made car; a Wolseley and then a Humber was proposed for "Genevieve" but there were none available for the task. Finally, Norman Reeves and Frank Reece came to the rescue: the former's 1904 Darracq was cast to play "Genevieve" and the latter's Spyker, the only Dutch car in the club, made a superb adversary. Better still, a member of Mr. Reeves' staff, Charlie Cadby, himself a member of the club, became the star cars' keeper for the duration of the filming, and it was thanks to him that they were still running at the end of it.

The chief contestants settled, the H.Q. telephone progressed from very warm to red hot. Thirty-five Veterans in Hyde Park on a weekday was no small undertaking, and not just any Veterans would do; they had to be beautiful, burnished and brightly coloured; some of them had to be available for continuation shots and their drivers had to be prepared for anything. That was the easiest qualification; it is part of a member's make-up. Owners pointed out with polite firmness that they did work, that short notice was impossible (a fact that the Secretary knew only too well), and that getting wet on a real "Brighton" was one thing BUT. ... Finally, all was resolved, members turned up trumps as they always did, and thirty-five impeccable Veterans joined the directors, technicians, pantechnicons, cameras, arc lamps and stars beside the Serpentine in Hyde Park. The adventure had begun.
All those who have seen the film know what followed, but what they did not see was the turmoil and seeming confusion; the starting and stopping, the endless waiting; the driving to and fro, the standing and looking, the watching and wondering. The queue for coffee and the lunch under the trees; the orders, counter-orders and the constant repetition; the grumbles and humour, the sudden laughter. Dinah Sheridan doing her knitting, Kay Kendall struggling with Suzy, John Gregson struggling harder with "Genevieve" and Kenneth More handling the Spyker with surprising skill. Master of it all was Henry Cornelius, patient, imperturbable and persuasive.
From Hyde Park the scene shifted to the Mall, Constitution Hill, Westminster Bridge, all the old familiar landmarks of the Brighton Run. The cars got mixed up with the Life Guards, a Buckingham Palace sentry and incredulous onlookers who stood and stared. There was one glorious day in Brighton with brilliant sun and blue skies and Madeira Drive looking as it never will in November . There were the twos and threes who carried out their orders in divers places, the faithful who turned out anywhere at any time and lastly, the grand finale in the studios.

What's wrong with this picture?
Not once was shooting delayed by the absence of a car; not once did a breakdown spoil a sequence. By the time it was all over, thirty-nine members and their cars had achieved between them a total of ninety-five appearances, and apart from the Darracq and the Spyker, the driving throughout had been done by the owners, who accustomed themselves to a quaint situation with a speed which was astonishing. If any doubts had existed of the goodwill of the club or the reliability of its cars, they were dispelled with alacrity, and if members had doubted the capacity of film directors for hard work, understanding and humour, their fears foundered on the first day.
The outside shots requiring the cars were completed by the end of October, but Mr. Cornelius was quick to realise that the thirty-five in Hyde Park with a few hundred onlookers hardly did justice to a real "Brighton" entry surrounded by thousands of spectators. Consequently, the start of the "live" run on November 2nd, 1952, was filmed, and despite the bad weather, the pictures that were obtained add much to the authenticity of the film, and immortalise a scene which has become a traditional part of London's November pattern. Mr. and Mrs. Cornelius had attended the club's cocktail party the evening before, and were in action early the next morning, anxious to absorb that atmosphere of its own which only the real thing could give them.
For the next six months, the club had little to do but wait and wonder. By Christmas, the Darracq and the Spyker were home again and the task of restoring them to their former fitness begun. In the spring, plans were laid for the club's share in the premiere and the Rank Organisation's co-operation with the Coronation Rally which coincided with the opening showing of the film in London. As the weeks went by, speculation on the picture grew. Rumours from the studios were few and guarded, and the Director refused to be drawn. "Just wait and see," he said-an expression which had been found to be his favourite months before.
At last, May 27th became a reality, and all the members who had taken part, and were able to accept the Rank Organisation's invitation to attend, turned up in force to see what had been done with their contributions, over which they had, after all, exercised only remote control. Harry Browell, who, as chairman of the committee, had done much to found the happy partnership between the club and Mr. Cornelius, was appointed the V.C.C. critic, and in his own inimitable fashion this is what he wrote:

On May 27th at the Leicester Square Theatre the first showing took place of the film with which many members were so energetically concerned. All the suitable circumstances of a premiere had been laid on and bouquets offered and accepted and nice things said and reciprocated.

Before many feet of film had passed it became clear that the V.C.C. were not the only ones to exert themselves and that Henry Cornelius and his cheerful team had made a film that may be shortly described as very, very good indeed. ..

Highlights to the eye of your critic were a magnificent three-cornered row with the driver of a Skimpworthy Special, an abominable hotel in Brighton and a tantalising hold-up during a desperate return journey caused by a little girl (Mr. Cornelius' own) laboriously taking back into stock an ice cream she had dropped in the road.
For the general release a few months later, members throughout the country turned out their cars, and it shortly became apparent that the club was concerned with a film which appealed to the public as few had done in recent years. Before long, the film had gone overseas, and was immediately hailed as a tremendous success. In the United States it inspired several special "Genevieve" rallies, and the Horseless Carriage Club of Colorado staged a run for Veteran cars from Denver to Brighton (Colorado) to coincide with the film's showing there. They obtained the regulations of the Brighton Run from the club, and made every effort to conform to them as closely as their own circumstances would permit-the essential differences being a day of brilliant sunshine with a temperature of seventy-six degrees, and the age limit of the cars, which had to be 1914 to attract sufficient competitors. The British Consul for the Rocky Mountain Region, and his wife, were guests of honour and travelled in a model "T" Ford. Official greetings were exchanged between the Mayor of Brighton, Colorado, the Lord Mayor of Westminster and the Mayor of Brighton, England, and good wishes between the Presidents of the two clubs. Every competitor received a special "Genevieve" dashboard plaque and among the trophies presented was one named after the British club.
From Australia came news of similar runs in Adelaide and Sydney, and in Melbourne the film ran continuously for months. One old lady there attended every morning performance and after thirteen weeks became the guest of the management. Nearer home, the story was the same: in France, Germany and allover the Continent it has drawn huge crowds, and in Holland it was linked with the club's rally to Alkmaar, where "Genevieve" herself, the Darracq which must surely be the most famed car in the world today, was given a tremendous welcome of her own.

<p align="justify">There is no doubt that this remarkable film has carved its own niche in contemporary life, and a fictitious Brighton Run, with its fantasy and frolic, has appealed to people all the world over, as has the genuine article with its unique history. Maybe, the fiction and the fact bear only a remote resemblance to each other; maybe, the world's audiences wonder where the one begins and the other ends. The clue can, perhaps, be found in Genevieve's own introduction to her public :

For their patient co-operation the makers of this film express their thanks to the Officers and Members of The Veteran Car Club of Great Britain.

Any resemblance between the deportment of the characters and any Club members is emphatically denied-by the Club.

For his patience, perception and goodwill, Henry Cornelius is now an honorary member of that club. Thus, a venture which began as an unknown quantity has developed into a film of world-wide appeal. In a large measure, the growth of the club has followed a similar pattern. Slow at first, it has steadily gathered momentum until its twenty-fifth birthday witnesses an enthusiasm unimaginable during its first. Started by three friends, it has grown from a small band to a national and then international body, and members have come from all walks of life, from all and sundry trades and professions to share a common interest and build a common pride. Now, more than 1,300 of them can celebrate a Silver Jubilee which has been accomplished by them all, and rejoicing in the ownership of close on 1,000 cars, can look forward to a growing entity which, by its very nature, is beyond time and prediction.

Texto extraído de
aqui

<hr width="50%">

GENEVIEVE -- Henry Cornelius -- 1953 -- DVDRIP

Genevieve (Henry Cornelius, 1953) DVDRip DivXClasico.com.avi
Genevieve Subs. Spanish.rar | Descarga Directa | Subtítulos corregidos por marlowe62
Audio Español Genevieve 80kb cbr .mp3


GSPot

Código: Seleccionar todo

AVI File Details
========================================
Name.........: Genevieve (Henry Cornelius, 1953) DVDRip DivXClasico.com.avi
Filesize.....: 700 MB (or 717,036 KB or 734,244,864 bytes)
Runtime......: 01:22:51 (124,274 fr)
Video Codec..: XviD 1.1
Video Bitrate: 1097 kb/s
Audio Language:English
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 77 kb/s, monophonic VBR 
Frame Size...: 512x384 (1.33:1) [=4:3]
Frames.......: 25
Qpel GMC PB..: No
QF...........: 0.223 bits/pixel

CAPTURAS




Hasta otra, y se garantiza mientras el buen cuerpo después de ver esta película. Página de referencia para seguidores de la película: aquí

[marlowe62]

Lo pincho todo.

A Blue tendremos que llamarlo ahora el "Fernando Alonso" de los post.

Un saludo y mil gracias británicas por el ripeo y la detallada información.

[style]

Pinchada, como siempre muchas gracias maestro

[karma7]

Mon dieu ¡¡¡¡
, irresistible, gracias blue.

[tethor]

A Blue tendremos que llamarlo ahora el "Fernando Alonso" de los post.

Yo prefiero llamarle el José Luis Perales del ripeo. ¡Qué exquisitez! ¡Menuda sobriedad!

[Gordianus]

Pues yo también me apunto, pero pincharé cuando haga hueco.

Muchas gracias Bluegardenia

[moonriver]

pinchada,un millon de gracias ,que recuerdos me trae y esa carrera final,muchas gracias

[Morrissey21]

Pinchada aquí y en FH.

Gracias de nuevo, Blue.

[tethor]

Pinchada aquí y en FH.

[gelete10]

Muchas gracias, pinchada de inmediato

[sirwilfridrobarts]

Pinchadisimo todo, maravillosa pelicula. Muchas gracias bluegardenia

[xaniox]

Pinchada aquí y en FH.

Te habrá salido esto entonces...

Ya estás descargando este archivo Genevieve (Henry Cornelius, 1953) DVDRip DivXClasico.com.avi

Pues yo también me apunto, pero pincharé cuando haga hueco.

Idem

Gracias blue

[KeyserSoze]

Pinchada aqui, alli te dare las thankius.

Un saludo y gracias.

[Bruckheimer]

Pinchada queda,gracias Bluegardenia.Un saludo.

[Jma32]

Subtítulos y audio español completos, pincho ahora la película, gracias bluegardenia.

Saludos

[kiedies]

Estas pelis britanicas me encantan... pinchada sin pausa
Saludos y muchas gracias

[Putero]

Pinchopauso brevemente... espero. Gracias

[Arremula]

Nunca aprenderé a hacer un post como tú, blue. 8O

Pincho todo lo que pongas en la barra.

Muchas gracias.

[figure8]

Yo la voy a pinchar, superando a Mozz, hasta tres veces.

[kimkiduk]

pincho-pauso hasta que complete las otras 2 (music&morker y afgrunden)
muchas gracias BlueG